Tuesday, December 23, 2008

Long Time no See

But not my fault - basically, it's been slow on news but now, lo and behold, there is something happening before christmas - some news about the "Metropia" movie. I am not really sure what to think of it as of now (apart from the fact that it will be blowing your mind) and it seems like I'm not the only one:

Metropia's Gorgeous CG Cast Remind Me To Get Back Into The Sun But Avoid The Zombie Samurais

Tarik Saleh's absolutely stunning futuristic Swedish film, Metropia, creates such believable characters that you'll start to question just how real it is. Plus, Zombie Samurai fills the necessary blood quota for the week.

Metropia's collection of beautiful yet sickly characters made me do a double- and triple- take. Set in a not-so-distant future, the world is running out of oil and, in response, the government creates a massive subway system that spans across Europe. The main character, Stockholm suburbanite Roger, discovers that his life is being controlled in every detail and tries to break free with the help of the lovely Nina (seen in a lacy number below).

Vincent Gallo and Juliette Lewis have signed on as the lead voice actors for the English-language version, which is like throwing gasoline on an already amazing independent film fire. I cannot wait for this movie to come out Stateside; it's unlike anything I've seen before. A short promo has been released on the internet where the filmmaker breaks down how they created this film shot for shot. It's pretty fun - enjoy, and thanks to Quiet Earth for pointing this out.

More and even some pics of the various characters appearing in the movie here http://io9.com/5115335/metropias-gorgeous-cg-cast-remind-me-to-get-back-into-the-sun-but-avoid-the-zombie-samurais

Friday, November 14, 2008

Captain America

Why did I sort of almost see this one coming? Only half way official as it comes - up to now - only from this blog: http://goneelsewhere.wordpress.com/2008/11/10/vincent-gallo-walks-off-captain-america-joe-johnston-to-replace/

Vincent Gallo walks off ‘Captain America’, Joe Johnston to replace
November 10, 2008 by James

Director Vincent Gallo has walked off of Marvel/Paramount’s production of Captain America: The First Avenger citing creative differences. Gallo and the studio publicly came to blows last week after scribe refused to remove what would have been the first* “on-camera brown shower in a major studio production” from his screenplay.

After talks broke down with potential replacements Abel Ferrara (Bad Lieutenant, Ms. 45) and Todd Solondz (Happiness) Marvel has hired Joe “Diet Ratner” Johnston to helm. Johnston is best known for his work on Jurassic Park 3 and for stubbornly refusing to develop a personal style over two decades of output.

Gallo’s treatment for the film, which was widely circulated on the internet in recent weeks, follows the exploits of Captain America (Gallo) as he battles addiction to “soldier serum” while chasing the Red Skull (Paul Caledron, Derek Luke in flashbacks) over the course of a single night in Manhattan. Along the way, he enlists a terminally-ill homeless man (Steve Buscemi) as his new Bucky; drunkenly participants in a gay bashing against a Stark Industries employee (Anthony Rapp) and his lover (Terry Crews); and encounters a husband/wife taxi driving team (Cataline Sandino Moreno, Harvey Keitel) who entice him into robbing a meth lab with promises of group sex. Treatment ends with a Shylamayan-style twist, as the entire adventure is revealed to have been the masturbatory fantasy of a young Steve Rogers in the 1920’s.

No word on whether elements of Gallo’s work will be incorporated into Johnston’s version.

Saturday, November 1, 2008

In case some of you don't know it yet...

...I LOVE this conversation. I'll even use this stupid <3 sign to emphasize that:

New Old Interview - Something's Happening

Been gone a few days and came back to find this goodie - I assume it's not new but from Brown Bunny times but still, I didn't know it yet:

Filmmaker Vincent Gallo Discusses "The Brown Bunny"
His Adults Only Film Prompts an Adults Only Discussion

After verifying no one present at this roundtable interview session with reporters was advertising themselves as working for one paper or media outlet while secretly working for another, filmmaker Vincent Gallo got down to the business of discussing his latest film, “The Brown Bunny.”
In this interview, Gallo talks at length about taking the film to Cannes, changes that were made to the final cut, the sex scene, and “The Brown Bunny” billboard that he designed for Sunset Blvd., which was taken down less than a week after it went up because of the reaction by some to the advertisment’s graphic content.


Is this a different film from the one screened at Cannes?
No, the biggest differences of the movie are as follows: I put a six minute song at the end over black to sort of DJ the crowd out of the theater, to sort of control even the end of the film – meaning the exit of the film. I forgot that people stay and they do these things, but I wanted to control the mood after people digested the film with a song, with a piece of music.

And then I took off about a four minute credit off the beginning of the film, which was the sort of people involved – Kinetique, Wild Bunch, a couple more names. I was trying to sort of settle the audience. I felt that at festivals people – at the big festivals – they really pay attention to the beginning so I put [something] very provocative. You know, the ‘University for the Development and Theory of So and So Presents’ and I put a big focus thing and a gate thing, because I wanted to make sure everything was perfect, then the film starts.

You took all that down?
All that down. So that’s nine minutes of this 25 minute thing. So we’re talking about, really, another 15 minutes because I’ll tell you, it really was… I really cut about 15 minutes out of the actual movie. And here’s what the 15 minutes were: In March when I agreed to go to the Cannes Film Festival, the film was incomplete. It was even incomplete in its shooting. I hadn’t shot the last scene of the film, which needed to be shot in late April because the film wasn’t supposed to be delivered in January. I had to shoot the last scene in April because it involved a racing scene at Willow Springs Raceway where I was going to go to a race, meet a couple of girls at the racetrack, drive around the track in 1st place at the race, and then deliberately drive off the track into a wall and of course kill myself. Because in the Vincent Gallo world, you have to begin with suicide and then you find a way out of it later on. And that’s what I did with “Buffalo 66.” Same thing. So I was planning on shooting the scene in April and I needed… To get more time to finish the film, which I needed for reasons I that won’t bore you with – they were technical reasons – to do the 16 mm blow up to 35 mm, I wanted to do it non-linear. Digitally but non-linear. The machine hadn’t been ever used before and it wasn’t ready. Fotokem said it would be ready in April, they changed their minds and said it would be ready in September. So to get that extra time from the Japanese financiers, which was an immediate “No,” I negotiated this thing where I would present the film to Cannes. And just by presenting the film to Cannes, they had to give me the six months. If Cannes took the film, I would show it. If they didn’t, no problem, I still got the six months.

For some bizarre reason, Thierry Fremaux accepted the film in this extremely – now, by the time it went to Cannes it was much closer to being finished, but the version that I showed Thierry didn’t even have the last 40 minutes. I mean, it was just rough sketches of the film. When Thierry said that he was serious about putting the film in Cannes, could I show him at least those last 40 minutes – could I rough them in and show him… The film didn’t have to be finished, could I just show him a complete film, I immediately did something that turned out to be the greatest thing because I was stuck on how I would edit that last sequence. I’d been pounding away at the last sequence. And I just roughed through it and then I took sequences that were going to be used for flashbacks – a sort of tumbling van, a bunny in the road, different things that made this ending, this abstract ending of the film. I sent it to Thierry and he calls me up two weeks – three weeks before they were officially supposed to announce films that were being accepted because he knows that for me to complete it now to go to print, he has to tell me early. He leaves a message on my message, “This is Thierry Fremaux. Congratulations, you’ve been accepted into competition at Cannes.” Which is everything that I’ve dreamed about my whole life up until the day that they rejected “Buffalo 66.”

Now the concept of the film festival, I had a whole different perception. The last thing that I wanted was the sickest moment in my life because I was… This is what I said: I’m editing in my house and I checked my messages because the phone had rang a couple times on my cell phone. And I checked my messages and, “Hello, this is Thierry Fremaux. Congratulations…” And I go, “F**k, f**k,” and I had an immediate nervous breakdown because I had made this deal with the Japanese and I knew… And I wasn’t nervous about showing the film, I was nervous about the amount of work – not being creatively nervous – about the amount of work that I would have to now put towards now creating an unfinished film. I had to do a fake mix off the edit, I had to finish these final editing tweaks, I had to generate credits, I had to put music down, I had to generate a print, I had to color correct the print. It really took me about three weeks, and it took me out of my place.
The good news was I was able to get the financiers to pay for that, and I was able to do some experimentations that would later aid me to complete the film. Things with the mix, I knew for sure the difference between linear and non-linear was a big difference, and now I’d done this blow up from digi-beta and it just looked awful. I hated it. And I was able to see how certain dissolves would play out and I was able to see my six reels put together for the first time.

When you make a film, you can’t sit there and watch your film from beginning to end because the phone rings, you want to change something, you take notes – you can’t do it. The only way to do it is to organize a screening somewhere for anybody. And you watch it and because there’s other people there, you stay quiet. You don’t do anything and you feel any doubts you have enhance themselves, anything you like enhances itself. You don’t really care what people think. People hated the first screening of “Buffalo 66,” or they loved one time a screening when I thought there was still problems with the film. But whatever it does, it brings it out of you. It really does… Most filmmakers do that 100 times. With “Buffalo 66,” I went from the rough-cut to the finished film in a few days of editing. I did the same thing with “Brown Bunny.” Just a few days of seeing exactly what was wrong.

To answer the question, finally, I cut out a sequence between Utah and Colorado that was about another 7 minutes longer of driving. So from when he gets up in that motel and drives, till he gets into the night and into Bonneville in the morning, there was about 7 more minutes of just landscape and pulling over and putting his sweater on, and washing the car. And when you saw it in the reel on its own, it played beautifully. I will release that reel as a film, as a methodical film of somebody on a journey. It’s just beautiful, it just feels so real. In the film, I felt that it distracted from the film’s continuity. The film’s continuity sort of stalled there for a moment, so I cut that 7 minutes out.

The racing scene used to be another three or four laps longer and I physically couldn’t make it shorter for Cannes because I needed this digital technique later on. I needed a higher resolution scan because one of my cameras – if you notice at the opening of the race, there’s edge fogging. There’s flaring on the edge of the film, sort of distorted film. Then when the bike comes around the first curve, the camera switches to another angle and it stays on that angle the whole time. That’s because my camera broke. The side camera broke, that’s why it’s flaring like that in the first shot of the movie. So I had to use one camera for that whole race. And the way that I made the 15 lap race into an 8 lap race for Cannes, then eventually to a 4 lap race for the final movie, was by high-res scanning and moving in and doing a sort of seamless jump cut. So the race was 4 minutes longer. The Utah scene was 7 minutes, and then there was… I cut one other thing. Oh, the end. I cut off the end. I cut out the fake, ridiculous end.

Do you think it’s a better movie?
There’s one cut of “Buffalo 66” that’s 18 seconds longer. I almost locked picture, then I just made one more pass through the film and took out 18 seconds. I can’t bear the 18 second longer version of the film. I can’t bear it. It’s gloomy, it kills me. It’s like a million pins poking me. However, if you saw the 20 minute longer version of “Buffalo 66,” you would have basically the same reaction to the movie. Some people might argue that there was more there that you’d have missed. If you saw the released version, there would be things that you’d miss. I think that the finished version of “Brown Bunny” is exactly what I wanted it to be. If I go back and look at the rough cut, it would seem… It would irritate me on some level. Unfortunately, once people get to see it that way, they always tell you what they missed.

If people are only focused on the controversial issues surrounding this movie, especially on the graphic sexual issues, what are they missing?
They’re missing what children miss when they’re in a car traveling to a place they want to go. They’re missing the experience of getting there. They’re missing all the beautiful things that are happening on their way there, and they’re missing the continuity of what the entire trip as a whole means to them. So they’re missing things the way adolescents miss things. If you look at that film without prejudice or hearsay or, even worse, suspicion about why it was made and what my intentions were to make it, then you become unaware of the multi-complex innuendos, narrations, aesthetics, and sensibilities, and concepts, and nuances, and melodramas that happen along the way.
I’m more attracted to the first part of the film than I am the last part of the film. The last part of the film works juxtaposed against the first part of the film, but it’s a more conventional… It becomes slightly more conventional. The part of the film that really engages me, the most beautiful scene in the movie to me is the scene between Cheryl Tiegs and I. I think what people miss if they put focus on the part of the film that they deem exploitive or titillating, they miss the film as a whole. And they certainly misinterpret the scene that encompasses them.

You had that scene blown up on a billboard on Sunset Blvd. That’s a conscious choice in marketing the film and the marketing campaign of ‘the most controversial American film ever made,’ it’s going to define the movie. People can’t help but go into the movie thinking about that.
Well, I’ll respond to that simply by saying I’ve made six posters for the movie. I’ve done all the synopsis, all the trailers, everything. And the line ‘controversy’ had nothing to do with the sex, it had to do with Lisa Schwarzbaum and people saying it was the worst movie ever made. It wasn’t an address to sexuality.

All the other pamphlets and formatting and imagery and text that I presented about the movie is highly intellectualized, highly conceptual, extremely discreet, and extremely conceptual in its aesthetics - in direct relationship to the film itself. The billboard on Sunset Blvd. was a much more broad concept for me. I designed it, I choose it, I paid for it. Okay. It happens in these ways: First of all, it’s the dream of my life since I’m a teenager to have a billboard on Sunset Blvd. because when I’m in LA I don’t watch TV, I don’t read the newspaper, I don’t listen to the radio. I only know about contemporary culture by broad advertisements. But I felt, first of all just as a person, it was a dream sort of to be able to have a billboard and to be able to pick what it was. That said, the billboard itself whatever boldness it has, whatever appeal it had, the intentions were that the appeal would be aesthetic and intellectual. I mean, the only people who would respond to that billboard in a way where they really understood the sensibility of that billboard would be people who were evolved on some level. That was not a mainstream provocateur. I mean, across the street you’d have a Calvin Klein ad where the girl is fisting the boy and her boob is out, and she’s dripping. Mine is in black and white – you can’t really see anything. There’s no boobs, there’s no nipples, there’s nothing. It’s done in a blown out half-tone. The whole billboard has no corporate names, it has no quotes from festivals. It has nothing. It’s done in a style or a tradition of classic adult cinema and the reference is that this film is A) an event – that those actors are substantial. And the purpose was to take away the marginal perception of the film. If people think that this is an art film, it’s offensive to me. They think it’s a self-indulgent, narcissistic film with a sex act. It’s offensive to me.

I was trying to give imagery that would relate to the other corporate advertisements to suggest that the film had a corporate element, or that it was… Certainly that it was not marginal and it was not ‘artistic’ in the classic sense. It was bigger than that. It transcended the Sundance Film Festival, or just the American film with the European ending – or something like that. I didn’t want anything like that and I didn’t want the hearsay to continue without addressing it. I wanted to show that the film was provocative, that it was in this tradition of adult cinema – “Last Tango,” “Midnight Cowboy,” whatever. But I wanted to do it on my own terms. I wanted to use provocative images that were beautiful, dramatic, aesthetic, clearly outside of mainstream eroticism.

That billboard was taken from a still from the only version of the film that was censored for the Japanese market only. And that particular still was used in a film that could play to 12 year-old children and up. So what was suggestive and provocative about that billboard was the boldness of the black and white, the gigantic white space, the huge font, and the huge area that said “In Color – X Adults Only.” It was done clearly to up the ante on a creative level, not up the ante on a provocative level.
Why did you make the second half of the movie, if it’s the first half that’s more where you were going?
I didn’t say that I was going for the first half. You said that. I said that the second half and the first half work together well. The first half is more reflective of my…a stronger reflection of my sensibility. But the film as a whole works juxtaposed together. That’s what I said.

I guess the question is why does it have to go there?
Why don’t you just get to the point and just say why did I use sex in the movie? Why ask it in a vague way? Why don’t you just ask me the same dumb question? You saw the film.

I was trying to ask it in the artistic context.
I’m not an artist. I mean, why ask me in the artistic context? I’m not an artist. I have never said once here today that I was an artist. I’ve not given you the impression that I feel entitled as an artist, or that I’m doing things purposely to be avant-garde or to be marginal.

I’m moving toward love and hope and beauty. I’m always doing things that I’m assuming are beautiful and that a lot of people will find beautiful. I’m disappointed and surprised when people don’t find my idea of beauty beautiful. I’m surprised, basically surprised.

I’m not shooting for marginal levels. I’m not shooting to do marginal work. And I’m not motivated by provocative reactions. I mean, to make a movie takes years. I don’t know what you do with your time and how hard you work on your work, but I don’t think you’d sit there and write for three and a half years and give up your house and your career and your money and you’d go bald and go gray and have your prostate blow up, just to provoke people. I think you’d have to be motivated by things that were really part of your interest, what you found beautiful. And to respond to the sex scene to somebody who’s seen the movie in that way, just blows my mind.

I’m using traditional iconic images. Pornography is the ability for somebody to have enhanced sexual pleasure or sexual fantasy free from responsibility, guilt, insecurity, consequence, etc. etc. What I’ve done is taken those icons of pornography and juxtaposed them against responsibility, insecurity, resentment, hate, greed, mourning - together. There’s no way to separate them in my film. There’s no way to look at that scene and be titillated or sexually aroused. People who get off on pornography are revolted just by the kissing scenes because they can’t take the level of intimacy and complex issues surrounding intimacy in that film. The graphic images are used to enhance those sequences.

It’s like none of the things that I’ve ever done in my life have been self-glorifying – ever. Everything that I do is for personal sacrifice. I sleep on a miserably uncomfortable horrible bed because it looks good. For 25 f***ing years I sleep on that horrible bed with that Amish quilt because it looks good. I do everything in my life because I believe… I don’t give a f*** about my body, about myself, about my face, about my reputation, about anything to do with my career. I put the focus on things that I think are important and beautiful. And they transcend me. And my work is much more interesting than me.

To call that film narcissistic or self-indulgent because I multi-task? Do you think it’s fun to work without an assistant? Do you think it’s fun to work without support, a production office? To sit there in a f***ing van with three guys, driving through the desert? A van packed with camera equipment that I have to unload every day, that I have to fix every day, that I have to reload into the van because God forbid one of them should lift one f***ing case on the film? Do you think that was self-indulgent?

Matthew McConaughey does 600 pushups before he does his shirtless scene. I haven’t even worked with a f***ing make-up person in films. You think I made myself look great? Do you think it’s fun to show your c*** in a film for ten billion to scrutinize for eternity? Do you think I get off on that? I was interested in the film for the purpose of the film, and I moved past my insecurities, my self-doubt, my self-hate, my incredible privacy that I value. I pushed that aside to achieve the goals that I had in the movie. And I think they’re very clear in the film. I think if you see that film, it’s clear that my intentions were to create disturbing effects around intimacies – both metaphysical and personal intimacies with this character’s life.

Do I have a big ego? Yes, because I think I know what’s the most beautiful. Am I difficult to work with? Yes, I’m an a**hole. I’m screaming at everybody all the time. Am I controlling? Yes. Am I a narcissist? Please, I don’t even have a f***ing mirror in my house. Give me a break, give me a break. Narcissist?

I didn’t call you a narcissist.
No, but that’s what is said all the time and that’s what’s meant when people ask me why I need the sex scene. I don’t need the sex scene in the film, because I didn’t need to make the film. But that film includes that sex scene. That film as a whole includes that sex scene. It’s not a separate part. It’s not a choice. Does Robert Redford wear the mustache in “Butch Cassidy,” or doesn’t he? That’s a choice. This film exists as a whole. I don’t compartmentalize the movie like that.

The whole scene involves hyper-intimacy, hyper-focus. You can barely hear them talk sometimes. They’re barely whispering. You’re constantly left feeling that you’re left watching something that you shouldn’t be watching, because you’re not supposed to watch sexuality, really, in a sense. Because you’re supposed to fill your mind with sexuality when you’re having sex. My character in “The Brown Bunny” cannot fill his mind with sexuality. He cannot because he’s filled with fear, grief, anger, and resentment, and that’s a very unusual portrayal of male sexuality. I’ve never seen it before. It’s not influenced by “Two Lane Blacktop” or some other stupid movie because it had a car in it. It’s insight that I felt that I had into pathological behavior that I think is common now.

People are extremely compulsive-addictive in the way that they get together. They act out in these ways in grief that I think are extreme. My character seems like a sociopath in this film but he’s very ordinary, and his experience is very ordinary. And I’m sorry that there’s so much focus at arriving at this scene. It was not my intention. I didn’t think that people would go see the movie and be so enthusiastic to see a blow job that they would ignore a whole film. I didn’t want the film ever to be presented that way because I thought we would just release it in another quieter way. Once it blew up…

I made that billboard on Sunset Blvd. I thought that billboard was the most beautiful billboard I’d ever seen in my life. I thought it was unique billboard in the fact that it wasn’t done in the conventional protocol of advertising where a whole bunch of people come in and put their name, and you have to make everybody happy in the film. It was just nice to see something where one person was able to create a more stark, bold billboard. I’m disappointed that I never actually got to see it in person. Very disappointed because they f***ing took it down before I got here.

You never saw it?
No. I was in New York when the billboard went up.

Who took it down?
Regency. The people at Regency, without saying anything. And the publicist had said to me that the controversy had started coming around the billboard. I thought people would freak out at the billboard – I didn’t see it as a smut thing – I thought they would freak out by the style. I’m always in my own…I’m thinking, “Wow, this is so beautiful. I mean, look it. No company names, just this big thing. I hope other actors and directors get off this billing block and this crap. It’s so great to see graphic design without all these things that you have to pander to.”

And then, you know, the publicist calls me, “The New York Times saw the billboard and they want to talk to you about it.” I’m like, “Oh no.” And I said to her, I said, “Listen. Let’s not talk to anybody because they’re going to wind up taking it down.” “Oh no, they can’t take it down because you have a contract.” I said, “I’m just afraid they’re going to take it down. Please, I want to get to LA. I want to see my billboard. I want to see my billboard before it gets taken down.” Then when I was in Chicago, going from Chicago to Minneapolis, somebody calls me and says, “Your billboard’s down.” I found out the billboard had been taken down without any explanation. There [were] no riots. You couldn’t see anything.

Look at advertisements now. Look at CK, look at Gucci, I mean, please! People like porn and eroticism. They don’t like black and white duotones. They want to see clean, healthy, young flesh. Do you think if you were a porno connoisseur that billboard would have turned you on? There wasn’t enough there. It looked like a romance novel cover more than anything else. There was clear hints of sexuality. The postures were clearly dramatic and clearly intimate. It was suggestive that the film was sophisticated in another way. And that’s all. That was the point.

The people who responded to it the most, the people who called me up who have the most evolved taste of my friends, liked that more than anything that I’ve ever done. But they didn’t like it in that way. They liked the boldness of it. They liked the whole odd nature.

Friday, October 24, 2008

Johnny 316

aka "The Lost Flic" - I know most have already seen the trailer but as it's been quiet recently and as I like it a lot, I decided to post the link to it here for your viewing pleasure:


Friday, October 17, 2008


So, rumours have it that - well, read yourself:

The Red, White and Blue Bunny? Vincent Gallo to hoist flag for Marvel/Paramount’s ‘Captain America’

Following this morning’s surprising revelation that Kenneth Branagh is in talks to tackle their adaptation of Marvel Comic’s THOR, Marvel chief Kevin Feige announced that the studio is in final negotiations with Vincent Gallo (The Brown Bunny) to write and direct 2011’s Captain America: The First Avenger.

Pic will be a more intimate, character-based drama (described as the “calm before the storm” by Faige) serving as launchpad for the hero before he headlines the studio’s mega-budget The Avengers later that summer. Marvel is currently sewing up a multi-picture pact with helmer
John Cameron Mitchell (Shortbus, Hedwig and the Angry Inch) for that franchise.

Gallo cites CBS’s series of Captain America telefilms in the late 1970’s (featuring the character as a cross-country driving motorcycle enthusiast) as major inspiration on his later works, including ‘Bunny’. Helmer plans to incorporate a modernized version of that storyline into his tale. Pic will not shy away from political commentary, as Gallo feels Cap could serve as “antidote” to the overabundance of “Neo-Marxist liberal thought” infecting most mainstream Hollywood productions.

Director has not ruled out Feige’s suggestion that he step in front of the camera as the star-spangled Avenger, but plans to actively explore other casting options.

While the studios have certainly not shied away from unorthodox hires for their super hero tentpoles (Christopher Nolan, Bryan Singer and Gavin Hood all cut their teeth on low-budget indies) the hiring of Gallo is surprising given the mixed reception to his earlier directorial efforts. 2003’s The Brown Bunny was savaged at that year’s Cannes Film Festival for it’s pretentious nature and raw presentation of human sexuality. In what would lead to a war of words with the director, film critic Roger Ebert labelled Bunny “the worst film in the history of Cannes”. IMDB reviewer shannygoat1 added “if you’ve ever seen, given or received head, you’ve seen it before.” Ebert and Gallo later reconciled after the critic gave a “thumbs up” to the director’s 2004 cut of the film.

Marvel will self-finance the film via its $500 million credit facility through Merrill Lynch with distribution handled by Paramount worldwide. Pic is part of an aggressive slate that includes two sequels to 2008’s Iron Man, Branagh’s Thor and Edgar Wright’s Ant-Man.

Gallo recently completed filming the title role in Francis Ford Coppolas’s Tetro and called Molly Friedman a “slut” to New York magazine.


Monday, October 13, 2008

Tiny new sighting from - eww - Gawker

But for a general lack of news...

"Saw Vincent Gallo on the corner of Prince and Elizabeth on Sunday afternoon (8/29/04), chatting with some attractive well-wishers/blow-job wannabes who appeared to be heaping on the praise. (How could I tell? He was smiling.) Yes, ladies, let's try to make that ego EVEN bigger, if that's possible. Anyhow, this was especially appropriate since Gallo was a mere block away from Houston Street, which has been liberally redecorated with now-famous Brown Bunny posters of a blurred-out Chloe Sevigny slurping his sausage."

Thursday, October 2, 2008

Black Book

Abel Ferrara talks Vincent Gallo in the new issue of The BlackBook. Go figure.


How was it working with Vincent Gallo, who was also a neighborhood guy? I don’t like Vincent Gallo.

A lot of people say that. No, but I know him. You know? ‘Cause I introduced him to [my girlfriend, Shannon], and he asked her to marry him after a day. But she didn’t bother telling me.

So he’s disrespectful?

You know, he’s a punk, man. He’s just a punk. What’d he do? Hit this reporter the other day? I heard he like slammed this chick, right?

He does it a lot.

This kid’s not right. Right? Right? Because he said that she didn’t like his leather jacket. Smashed some chick in the face! [Editor’s Note: Vincent Gallo did not actually, physically attack anyone.] You know what I’m saying? But I mean, you know, what can I say about the kid? I don’t wanna talk about him. .

Wednesday, October 1, 2008

Vincent Gallo Comes to SOhO

Vincent Gallo Comes to SOhO
Marching to the Beat of His Own Drum
Tuesday, September 30, 2008
By Lisa Engelbrektson

“Improvisational” would be the closest word to describe the current musical work of Vincent Gallo, creator and front man of RRIICCEE, and even that can’t possibly prepare listeners for the show they’ll see on Sunday, October 5, at SOhO. Intentionally unarranged (but not unprepared), RRIICCEE is an effort of three musically inclined artists who perform live music that has never been written or rehearsed.

And though it’s far from typical, this avant-garde style—usually reserved for innovative jazz musicians—is very familiar to Gallo. “When it worked in the past,” Gallo recalled, “it was such a high vibe, and really beautiful. Listening back, listening back as an experiment, some of the things we played were the best things I’ve been a part of. There’s no sense of continuity. We go on stage fearless, open, and also focused.”

When trying to understand exactly what RRIICCEE aims to do, it might be easy to assume they get together and “jam.” Wrong. “Anyone can go into a room and jam, but when composing—and not thinking in the language of arrangements and compositions—sometimes you can create musical vocabulary you’ve never heard or experienced before,” Gallo explained. “Listening back to tapes of what I thought were some of our worst shows, I found they were actually some of our best. It’s nice not to be involved in musical cabaret or cliché. The goal of the show is more exciting. It’s what we do best. It’s not a pale version of prepared and overly rehearsed writings, which aren’t nearly as effective.”

Gallo, who’s on the frontier of something rock ‘n’ roll music doesn’t typically embrace, is offering exactly that: an experience that unfolds on stage before the crowd, a moment so sincere and intimate it can never be recreated. But it’s not as though he’s against recorded music; “I like records and believe music and theatre have a remarkable effect. I’m more excited to go home and listen to a record than go out to a show—and I do record for personal pleasure—but for RRIICCEE, recording would be separate, and meant only to be listened to in that way.”

A few things ticket holders can count on this Sunday are a guitar, bass, melodica, and melathron. “We use a vibraphone and chamberlain. I’m not looking to play a saw or electric motor,” Gallo deadpanned. “The concept puts focus on instruments rather than musical vocabulary. It’s hard to invent musical form; I’m really classical in that way. I’m into instruments which have survived—melathron and things like that. I grew up and experienced more with tape loops and speed changes, and I like electric guitars very much. It’s an instrument which hasn’t been around long, but it’s rock and roll.” Even with his passion for classical instruments, Gallo recalled a recent film set he’d been on, in which an orchestra was employed. “They were beautiful and played beautifully, but they seemed stuck,” he explained, “and it just wasn’t compelling.”

Despite his cult celebrity status, Vincent Gallo is anything but the type. He self-made his way in the world starting at the age of seven years old and has always been something of an entrepreneur with a raw eye. “My first job,” Gallo mentioned, “was when I bought cinnamon oil at a drugstore and dipped toothpicks in it. I sold them for one penny each in school after I’d seen someone on television do it. They were really strong,” he noted. “Then I started making candles and sold them door-to-door. But when I was 11, I got my first job. It was at a gas station, dog kennel, and restaurant. Then, when I was 14, I worked in a janitorial business, cleaning blinds and waxing and stripping floors. When I left Buffalo I was 16. I worked in a high-fi guitar shop and also as a dishwasher before I had my first art show in 1984. And I didn’t do art to be a celebrity, it wasn’t to make a living,” Gallo said. “I was a proud dishwasher. I didn’t tell people I was an actor. Kids now are so connected to ego that they aren’t playing music to play music—they want something from it.”

Gallo continued on this thought, juxtaposing current young musicians to those of the 1970s punk rock scene. “Now the art world is bigger and more prolific than ever, but it’s not affecting the way people think and act. People now look at the punk and noise scenes and have no idea how remote the possibility of them passing a record deal was. It was so remote … Playing was this celebration of sharing, an exchange, and [it] was personal and occasionally an intimate exchange with the audience. Charisma, honesty was gigantic for the Ramones, for example—and Johnny Ramone was my best friend. They played to get by.”

Link: http://www.independent.com/news/2008/sep/30/marching-beat-his-own-drum/

Tuesday, September 30, 2008

He's in Milan!!!

C'N'C Costume National - MFW Womenswear Spring/Summer 2009

Fashion Week gets longer and longer for Sir Gallo ;-)

So, they're touring

Apart from several blog entries, some of them literaly ripping the performance apart some praising them there has finally been a small piece on one of the shows that says more than just "I hate Vincent Gallo anyway" or "I love him whatever he does". Plus, even better, it includes some quotes from the man himself.

Here it is:

RRIICCEE Frontman Aims for Unstructured Sound

Posted on: Friday, 26 September 2008, 00:00 CDT

By Michael Machosky

Vincent Gallo, with his collective creative output as actor, filmmaker, model, painter, musician and general all-around weirdo, doesn't elicit many tepid reactions. People tend to either love him or hate him.

He's probably best known for his film work -- like the stunning indie classic "Buffalo 66" (1998), which he wrote, directed, acted in and composed the music, as well as the semi-coherent, scandalous catastrophe "The Brown Bunny" (2003), which provoked a famous fight with critic Roger Ebert at Cannes.

Whatever he is or claims to be, he's never boring or predictable. Gallo's new band, RRIICCEE, is his current focus, and, like most Gallo projects, it's not easy to describe. The band will perform Friday at Garfield Artworks.
Just don't expect to know ahead of time what they'll sound like. Gallo doesn't really know, either.
"We're trying to stay out of musical cliche as much as possible, and find a way to grow musically to the point where we're on the cusp of new musical forms," Gallo explains. "The only thing I can say that our music isn't, is jammy," Gallo says. "It's not jamming - - not a bunch of solos around a musical form. Don't expect jazz or blues."

The band features twins Nikolai and Simon Haas (brothers of actor Lukas Haas) and Eric Erlandson, a co-founder of the band Hole. For the most part, it's a pretty traditional rock band setup, with guitars, bass, keys and drums. Gallo sometimes plays mellotron, melodica and other things.

It's largely improvised music, and never the same thing twice. That implies a lot of risk for the musicians -- falling completely flat is an option.

"There's so much risk in chaos -- that's how you grow," Gallo says. "You respond to things you've never heard before, that you didn't plan on. Things come out of you that were not intentional.

"What I used to think for the audience is that there's a risk of it being a good show or a bad show. I don't think in those terms anymore. I listen back to some of the tapes I've made of shows. ... Some that I thought were not as good -- they weren't as structured or pretty -- were actually the strongest and most original."

Although he's most associated with the film world, he's been playing in bands since the '80s.

"Most of them were bands where nobody had a background in studying music -- I go back a long way with people who are not necessarily over-trained," Gallo says. "I played in a band with (artist) Jean-Michel Basquiat, called Gray -- a very marvelous experience for me. With Jean-Michel Basquiat, I learned to abandon my expectations, and the stories stuck in my head from the past. I had to really let them go and think on my own -- to be the person I am, not the person I learned to be by listening to other things."

RRIICCEE has no plans to make any recordings for sale. Gallo says the band is only interested in the music created in the room at the time of the performance. For those who come to hear it, keep in mind that the music you're hearing will always be unique.

"They should understand they're going to see a performance that's unrehearsed," Gallo says. "Expect there will be some ups and downs regarding the level of clarity. They should try to forget the more traditional music experiences they have."

Source: http://www.redorbit.com/news/entertainment/1568682/rriiccee_frontman_aims_for_unstructured_sound/

Thursday, September 18, 2008

Interview with Vincent

Interview A Chat With Vincent Gallo
by Robyn Conniff


Last December, the musical group RRIICCEE rolled into Buffalo to play a show at the downtown club Soundlab. One major point of interest for potential audience members was the approach the group takes to making their music—they compose it on the spot in a sort of super-live performance, unwritten and unrehearsed. Another point of interest was the inclusion of group member, actor, filmmaker, Buffalo expatriate and sometime media firebrand Vincent Gallo. (In fact, in the weeks leading up to the date, several potential concert-goers asked each other and were asked if people were going not to RRIICCEE, but to “the Vincent Gallo show.”) Gallo dedicated the show to the recently deceased local artist Mark Freeland. The show sold out.

Vincent GalloGallo spoke with AV from his home in Los Angeles. His experiences with the media, especially some of those in his hometown, still leave a bitter taste in his mouth, in case anyone was wondering. However, his message now is one of hope for the city (and, yes, its media) and that we should learn we can be proud of our own. (He, perhaps wryly, asked how the death of Tim Russert was handled here. With apologies to Russert’s loved ones, I wryly told Gallo that Russert was being nominated for sainthood.)

AV: Hello, Mr. Gallo?

Vincent Gallo: Yes, this is “Mr. Gallo.”

AV: You’ll be coming to Buffalo in a week?

VG: Yes, I’ll be coming with RRIICCEE.

AV: Where did the band get its name?

VG: I made it up. I made it up as a logo [so as] not to get stuck—usually when bands name themselves at some point in their lives they in some way outgrow their sensibility they were attached to when they identified themselves. In that way I was trying to do something that’s like a logo or had visual sense like a logo.

AV: I caught your show in December…

VG: Oh, you did? It was, nice, to me, that people were very warm and open-minded.

AV: You’ve been asked many times to define what your group is doing, i.e., this is not a jam band or an improv: Does this ever get any easier to do?

VG: Hmm…no, it doesn’t. People seem to be really jaded, or confused in that way. It’s not a jam band because it’s not people soloing around a musical form or key or progression. It is improvisation—spontaneous but with a goal of creating composition. It’s a form of songwriting.

AV: Are there rules against stumbling upon a previously spontaneously composed passage?

VG: No, there are no rules against anything, but the goal is to get out of the way of fear, or ego. So, if you’re not in fear and you’re not in ego, you’re not self-glorifying or you’re not falling into cliches because you’re afraid to be open. There are no rules whatsoever, and in fact, I’ve been in ego during performances where I don’t pull into myself but I certainly don’t feel comfortable, when I knew I [was] doing things that are self-glorifying, or soloing, or things that have worked for me in the past. I’m at the point where that doesn’t feel right and I quickly move away from that as soon as possible.

AV: It sounds as if there is a metaphysical aspect to what you are doing.

VG: Yes, there is. What people seem to do when they go onstage is to create expectations for themselves—what they sound like and how the songs should go, etc. We simply remove that expectation, and we haven’t replaced it with fear and ego, but replaced it with openness and open heart, and that’s all.

AV: People do come to shows with their own expectations—but with this group, do you think you bring the audience into that sense of openness and lack of expectation?

VG: Immediately, I think, they get a sense that the experience for them is, at least partly, the same as it is for us. They’re getting to watch a creative process, but also getting to wallow, or enjoy what’s going on sonically. There is a sonic wall or landscape, and they can sit back and enjoy it and also notice how it’s being created, and enjoy that. If you didn’t know the music wasn’t rehearsed or written, you wouldn’t know it just by listening—you’d have to be told that. If you can get past however that makes you feel now that you’ve been told that, then you can enjoy [the show] in a basic way.

AV: Knowing the players come from a background in rock or experimental music…

VG: Just for the record, I love rock music, and some of the greatest shows I’ve ever seen in my life were done by bands who go on tour and play their pre-recorded music. So, we’re not reacting to anyone and we’re not putting anyone down. We’re just saying, here’s another way to think of a live performance, here’s another way to be part of a musical group. One where we’re trying to grow continually and not get too attached to one thing that’s happening.

AV: Do you know of any other groups doing anything similar to your group?

VG: I’ve never seen anybody else, because even “noise bands” or any of the electronic bands, they’re still going out there and performing. They have an expectation of what they’re trying to do—basically no different than the John Mayer band, except their musical form is either a bit more jaded or original or spontaneous, whatever word you want to use. I don’t believe in those words, because I don’t think one person is better than another person just because what they’re doing is, let’s say, less popular. I remember as a kid really digging Earth, Wind & Fire, you, know, they were like the number one band in the world—and at the same time I had King Crimson albums, some experimental music, the classics. But I didn’t feel the more experimental artists were cooler, more important, or more valid than Earth, Wind & Fire. In fact, I just drove across the country with Sean Lennon, who was listening to Earth, Wind & Fire’s greatest hits, thinking how fucking brilliant they were…

All music is beautiful, all film is beautiful. I’ve never been to a movie in my life that I didn’t like. There are some I liked more than others but they’re not all by Tarkovsky, or Godard, or Bresson. I mean, the Wizard of Oz is still my favorite film—how much more classic can a film get?

AV: Have you had any film ideas come to you through this project?

VG: Just one, which is to make a movie of every performance on the tour, then cut a feature film which is just a straight collection of musical performances without any prose or narration or cutaway whatsoever. That’s what I’m planning to do with the next tour. I have to finish editing my new movie and I have a couple more shots to do with Francis Coppola—I’m in Coppola’s new movie [Tetro]. The movie I directed is untitled at the moment. And for the record, Francis Coppola was the most beautiful filmmaker I’ve ever worked with in my life. I’m really grateful to have had that experience.

AV: Why’d you put Buffalo on this tour?

VG: I booked a tour across the country and I insisted that we try to make another show work in Buffalo, because the last time we played there my band had such a good experience, and we spent a couple of days in Buffalo because we had some down dates. I drove with Nikolas Haas [a bandmate whose fraternal twin, Simon, is also in RRIICCEE; they are the younger brothers of actor/musician/longtime Gallo friend Lukas Haas] all around Buffalo for two days, just trying different restaurants, showing him where I grew up; it was such a beautiful experience. I met two young girls who came to the show—they were so smart and so open, and they were cool, and it was so exciting for me to have a good experience. The only sad note was that I missed seeing Mark Freeland. Kent Weber came. Kent gave me a picture of him and Mark when they were younger, and it’s now my most treasured photograph. It was really so nice of Kent to make that for me.

AV: Bernie Kugel showed me a photo of you and him taken some years ago.

VG: Bernie Kugel is one of the most influential people in my life. Mark was certainly, Kent is certainly—those are some beautiful Buffalonians. They reflect the true nature of the people there—there’s some warm, smart, sensitive [people]. I don’t know why Buffalo gets such a funny rap. I picture a lot of change because of such people.

AV: How long have the Haas brothers been in the lineup?

VG: We’ve been a musical group for about five months. We haven’t played many times together, so Buffalo is going to be only our second show, which should be interesting. [Laughs.] I’m really happy we’re playing Soundlab again, I really like that joint, it’s a very good joint. I’m really excited that they invited us back.

AV: Well, you sold out last time.

VG: Yeah, I hope that’s where we’re at again.

RRIICCEE will be at Soundlab on Thursday, September 25.

Saturday, September 13, 2008

Another Fashion Week Palin comment

And yet another one on the Palin family - I love fashion week for all the news that go along with it!

"Story" here: http://www.blackbookmag.com/article/fashion-week-vincent-gallo-still-a-sarah-palin-fan/4104/

Clip here:

Fashion Week "Scandal", Part II

As Vincent Gallo is still out and about at the fashion week, he managed to get on the bad side of yet another journalist - and all because of his jacket. The whole story is right here (http://www.blackbookmag.com/article/fashion-week-vincent-gallo-will-track-you-down/4124/) the clip that goes along with it is here for you:

Well, not that bad, right? He sitll looks hot though in that jacket.

Tuesday, September 9, 2008

It's a scandal, baby...

...and the person enjoying it the most is probably our dear Vincent Gallo.

The New Yorker - who owns the famous tape - now published the said part of it and also wrote a little piece on the whole situation which can be found right here:


And it goes something like this:

In Which We Defend Vincent Gallo’s Palin Proclivities

Earlier this week, one of our reporters caught up with provocative director Vincent Gallo at the Andres Serrano party at the Bowery Hotel. While she was interviewing him, Gawker operative Molly Friedman approached and joined the conversation, without telling Gallo she was a reporter. And after he harassed her for smoking cigarettes ("You look like you've been smoking for 40 years," he said — Friedman is 24), Gallo began to discuss Sarah Palin and her family. Friedman wrote about the exchange on Gawker, and claimed that Gallo called 17-year-old Bristol and 14-year-old Willow "hot." According to Friedman, she asked Gallo if that made him a pedophile, and Gallo said, "I've been called worse things."
After Gawker published their version of the exchange, Gallo found a different reporter from New York and protested the blog post. The Brown Bunny director argued that he never said anything sexual about Palin's underage daughters. He also wrote a lengthy comment on Gawker, in which he called Friedman a "fucking cunt," among other pretty terrible things.
Well, because we're nosy bitches, we tracked down the tape and we're publishing that section of it here. We spoke with Friedman, who said she spoke to Gallo for "five to ten minutes." The entire tape of this conversation with our own reporter lasts 26 minutes, and Friedman is around for only about the first ten, so we've edited it down to the Palin section. In it, you can hear Gallo indeed tell our reporter that Sarah Palin is "the prettiest girl in the world" and that he's "in love with her." (Our gal is the one who speaks more loudly because she's closer to the tape recorder.) Gallo says that the Palin "family is beautiful" and extols the hotness of Ma and Pa Palin, but not of their teenage daughters. He calls the youngest daughter, 7-year-old Piper, "cute." (For what it's worth, he later calls Hillary Clinton a "pig.")

Notably, Gallo does not shrug off accusations of being "a pedophile." When we asked Friedman about the discrepancy between her report and the tape, she said: "I simply struck up a casual conversation with Gallo while with my friends. I found the fact that he called the Palins 'the best looking family' and commented on the daughters' appearance in such a candid way to be funny, so I told a friend at Gawker. I'm not the first girl Gallo has called the C-word, but I may be the first not to care."
We think that pretty much wraps it up.

So if you want to listen to the real thing, just go there and check it out.

My opinion? No big fucking deal.

But the NYmag also caught him and asked him about it (http://nymag.com/daily/fashion/2008/09/at_y-3_vincent_gallo_explains.html):

At Y-3, Vincent Gallo Explains His Attraction to the Palin Daughters

When we asked Vincent Gallo what he thinks about Sarah Palin, he lashed out about a Gawker post that he found offensive. “Gawker had some slut named Molly Friedman who quoted that I made some sexual gestures toward her [Palin’s] young daughters. What I said was that they’re a very handsome family. I said that I thought she, her husband, and her children were very handsome, and that the idea of them being the vice-presidential family was delightful in my mind,” Gallo told us at the Y-3 show on Sunday. “They said that I insinuated that I found them sexy. And I never said that,” he insisted. “I said they were a handsome family, and I found her watching her youngest daughter holding the baby very sweet and cute.” Gallo told us how the whole mix-up happened. “The girl who wrote for Gawker was some drunk young girl smoking like a truck driver, some club chick, and she was like eavesdropping on somebody else that I was talking to. I was offended that Gawker would accuse me of something that would be illegal. And I found it shocking that they would send out, like a club whore like that to do their work.” What else about “whores”? “If [Palin] was a left-wing whore, it would be fine that she had kids and a job. Because she’s a good American and a fine, respectable woman, it has somehow infuriated the Socialist media.” He added, perhaps unnecessarily, “That’s how I feel.”

The Ugly Cunt - Palin family, Part II

So Vincent did of course not say that being paedophile isn't the worst thing. He even made a statement, declaring how things actually happened:

"The eavesdropping cunt Molly Friedman and her ugly, primitive mind invented her own view of my conversation. I was polite, casual, and spoke about how nice the Palin family unit was. I said the youngest daughter was so cute holding her baby brother. I was not and would never suggest I was sexually attracted to the Palin family daughters and I resent the whore Molly Friedman and Gawker for creating that spin. Let me remind the Gawker creeps that sex with minors is illegal and suggesting in any way that I am open for that is against the law, ugly, useless, rude, and small minded. The girl from New York Magazine has a tape of the entire conversation and I will shove it up Gawker's ass if they do not retract Molly's dishonest and ugly inventions. Fuck Gawker, fuck that ugly cunt Molly Friedman, and fuck all who have chimed in with their judgments, hate, resentments, and jealousy. I suggest you all read books, stay off the net, put down the chips and dips, and get in touch with what has made you so unhappy. For the record Molly, I will make you wish you were never born, you fucking cunt.
Regards,Vincent Gallo


Monday, September 8, 2008

News news news

The city is buzzing with fashion so everyone has to go out to be seen. This also includs Vincent who had a good time this weekend AND finally made the inevitable comment on the Palin-Family.

You can read how Gallo lusts after the teenage Palin daughters (http://gawker.com/5046111/vincent-gallo-lusts-after-teenage-palin-daughters):

Indie actor and proud Republican Vincent Gallo failed to shock and awe with his in-real-life blowjob scene with Chloe Sevigny in The Brown Bunny. But the scruffy about-town Gallo should be more discreet about what he says to people about how "hot" the Palin family daughters are. Our correspondent Molly Friedman ran into him at the Andres Serrano after-party last night:
Via Molly:
"Ever seen the younger one? Yeah, they're the best looking family I've ever seen," said Gallo. He said something about guns, so I asked, are you are you a Republican? He said "Yes." I said, "Why?" He said, "Why not?" I said, "I asked you first."He said, "Look, have you seen that Palin family? She is so hot. And her daughters are so hot." I said, "Which one, the pregnant one [Bristol, 17] or the younger one [Willow, 14]?" He said, "Both of them. They're the hottest family I've ever seen." I said, "So are you a pedophile?" And he said, "I've been called worse things."

Then he was one of the art lovers to celebrate Serrano:

Even at a civilized dinner party, bad boy artist Andres Serrano doesn't fail to shock. "I never thought I would work with s---," he deadpanned over his appetizer as he sat next to his gallerist, Yvon Lambert, at a fete in his honor at the Bowery Hotel Thursday night.But for his latest show at Lambert's Chelsea gallery, such scatological subject matter is exactly what Serrano focused on: the end product, if you will, of 66 different animals, including himself. The resulting large scale images have names like "Good S---," "Bad S---," and "Holy S---." "It first occurred to me when I was watching the nude wrestling scene in 'Borat'," explained the photographer, who is infamous for the 1987 work "Piss Christ," that sent the late Jesse Helms into apoplexies of rage.Given that controversy, it's slightly incongruous that one of Serrano's close friends at the dinner was Vincent Gallo—a self-proclaimed hard-core Republican. "John McCain invited me to go to the convention, but I couldn't attend since I had to work," said Gallo, who will instead be hitting the fashion shows of Marc Jacobs, Anna Sui and Rodarte while he's in New York. "I love [Sarah] Palin," he continued. "I think she's hot."

And someone was kind enough to take pics of him at the fashion show (more on getty, as you can guess form the ugly watermarks):

"Where's Waldo - eh, Vincent????"

Friday, September 5, 2008

Tour, Part II

As they are touring, there are several "oh how we look forward to the concernt happening in our humble city"-news.

Here are some:



Anyone who can get tickets, GET them and take the chance to see this amazing band live!

Thursday, September 4, 2008

Dear Mr Stein,

this is a response to your little comment on the Belvedere Vodka ad (http://gawker.com/news/last-call/vincent-gallo-and-terry-richardson-pimp-belvedere-330199.php) with Vincent Gallo.

The fact that you consider the ad to be "depressing" is a personal impression of your choice that cannot be discussed. I rather save depression for the really big things in life and don't waste it on ads I don't like (as there are plenty, Mr Stein.)

But did Gallo and Richardson become "silly parodies of themselves"? I am not sure about that one. The Gallo I see in this ad has nothing to do with how he is perceived in general (as the drunk party going guy who smashes paintings) by the public, so I don't see what exactly he is trying to parody so badly. The only reason why I consider it to be funny is the fact that Gallo has said several time that he does not drink any alcohol at all.

Gallo also never "concocted a whole movie around Chloe Sevigny giving him head" and everyone who has actually seen the movie knows that The Brown Bunny isn't as much about him getting a blow job as Planet of the Apes tries to be a documentary on the statue of liberty. I understand that it is easy not to like The Brown Bunny and call it boring or too slow or whatever, but anyone who has seen the movie and not only saw the billboard or the scandal it brought upon an ever so stuck up country should know better than it being about a blow job (even though the said blow job was VERY well done.)

Dear Mr Stein, I am sure a bit of research would help ;-)

RRIICCEE (has to be spellt out, not pronounced as Rice!!!) is on tour...

Mr Vincent Gallo and his band are touring again - sadly, only in the US. This is good for the people in the US but bad for me living in Europe but you can't always have it all, can you? Anyway, if I could I'd go so everyone who can go: GO THERE! (More Information & awesome merschandise on the official site of the band: www.rriiccee.com)

RRIICCEE - 2008 Tour Dates:

09.24 - Hiro Ballroom - New York, NY
09.25 - Soundlab - Buffalo, NY
09.26 - Garfield Artworks - Pittsburgh, PA
09.27 - The Crofoot Ballroom - Pontiac, MI
09.28 - Beachland Ballroom - Cleveland, OH
09.29 - Shank Hall - Milwaukee, WI
09.30 - Turf Club - Minneapolis, MN
10.03 - Mission Theatre - Portland, OR
10.05 - SOHO - Santa Barbara, CA

And if you want to read as well, there is a really good interview with Vincent here (where he talks about the band and iPods) from 2007:


Monday, September 1, 2008

The Asia-Connection

Asia Argento is getting married because some guy got her pregnant or because she's really, truly in love.

See here and numerous other sources:


All these sources mention that she once was with Vincent Gallo, which is probably something most of you know, but you can never mention things often enough. And if only I could find that damn interview she once did about them, I'd post the excerpts but it seems like the fanpage that had it published and that had called itseld the best source ever bla bla on her has vanished.

Friday, August 29, 2008

Ask Roger - Yeah, Sure.

So, Everyone knows who Roger Ebert is, right?

Some people who I couldn't care less about got to ask him questions that were way too long and as one involved the legendary screening of Brown Bunny, and as it's new news - here it is, lo and behold...

Q: I didn't like the film Little Miss Sunshine at all, until my grandmother watched it after suffering a stroke last year. She'd lost almost all ability to communicate, but her mind was still sharp, and her non-verbal response to that film revealed an astonishing amount about the power of the medium. I was ashamed that I'd ever been so pedantic in my criticism.

You've mentioned watching City Lights outdoors in the Piazza San Marco in Venice as one of the great moviegoing experiences in your life. Have you ever had a great moviegoing experience with a film you didn't think was all that good? -- Chi Laughlin, Clyde, Ohio

A: Yes, but not in the sense you mean. It would have been the morning press screening at Cannes of Vincent Gallo's The Brown Bunny.Europeans are not shy about booing. Never have I heard so many boos, whistles, hoots and snorts. When anybody got up to leave, their chair snapped back with a pop. At times the theatre sounded like microwave popcorn. As you may know, I thought Gallo's re-edited version was significantly better.

If anyone wants to read the whole shebang, go to: http://www.canada.com/windsorstar/news/story.html?id=82d4c057-f08e-4d4e-9929-60eaaa2bf47b

So, Why the Fuck Vincent Gallo?

I don't do blogs.

Why should I tell a lot of people I do not know and in many cases have no interest in ever meeting what my life looks like, why it suckes today or why it didn't? I have real friends.

Now that you don't like me, let me tell you that I did start off this blog because I want to create a collection of all things Vincent Gallo.

For myself and those interested. I won't start off putting together all the old stuff, but plan and intend to collect what happens from NOW ON.


Because I am a collector, that's why I do and enjoy.My choice fell on Vincent Gallo because, from all the actors I adore, like and sometimes think off while masturbating, he is the one most consistent in my life up to now.

So this is why it's him and if you like him or want to bitch about him, feel free to do so.

Tuesday, July 22, 2008


Rechtliche Hinweise

1. Inhalt des Onlineangebotes
Der Autor übernimmt keinerlei Gewähr für die Aktualität, Korrektheit, Vollständigkeit oder Qualität der bereitgestellten Informationen. Haftungsansprüche gegen den Autor, welche sich auf Schäden materieller oder ideeller Art beziehen, die durch die Nutzung oder Nichtnutzung der dargebotenen Informationen bzw. durch die Nutzung fehlerhafter und unvollständiger Informationen verursacht wurden sind grundsätzlich ausgeschlossen, sofern seitens des Autors kein nachweislich vorsätzliches oder grob fahrlässiges Verschulden vorliegt. Alle Angebote sind freibleibend und unverbindlich. Der Autor behält es sich ausdrücklich vor, Teile der Seiten oder das gesamte Angebot ohne gesonderte Ankündigung zu verändern, zu ergänzen, zu löschen oder die Veröffentlichung zeitweise oder endgültig einzustellen.

2. Verweise und Links
Wir können keine Haftung für das Angebot und die Qualität der verschiedenen Angebote, gewährleisten. Wir haften nicht für die Richtigkeit, Qualität, Vollständigkeit, Verlässlichkeit, Art und Güte oder Glaubwürdigkeit der Inhalte, die in den Kommentaren vermittelt werden. Die Verantwortung für Inhalte, die von Dritten eingestellt werden, lehnen wir ausdrücklich ab. Ebenso sind wir für die Inhalte von anderen Homepages, die über selbst oder von anderen Nutzern gesetzte Links erreicht werden, nicht verantwortlich. Der Nutzer erklärt sich damit einverstanden, dass er die entsprechenden Inhalte auf eigenes Risiko benutzt, sich auf eigenes Risiko auf diese Inhalte verlässt und keine Haftungsansprüche gegen uns wegen Inhalte Dritter geltend machen wird.

3. Urheber- und Kennzeichenrecht
Der Autor ist bestrebt, in allen Publikationen die Urheberrechte der verwendeten Grafiken, Tondokumente, Videosequenzen und Texte zu beachten, von ihm selbst erstellte Grafiken, Tondokumente, Videosequenzen und Texte zu nutzen oder auf lizenzfreie Grafiken, Tondokumente, Videosequenzen und Texte zurückzugreifen. Alle innerhalb des Internetangebotes genannten und ggf. durch Dritte geschützten Marken- und Warenzeichen unterliegen uneingeschränkt den Bestimmungen des jeweils gültigen Kennzeichenrechts und den Besitzrechten der jeweiligen eingetragenen Eigentümer. Allein aufgrund der bloßen Nennung ist nicht der Schluß zu ziehen, dass Markenzeichen nicht durch Rechte Dritter geschützt sind! Das Copyright für veröffentlichte, vom Autor selbst erstellte Objekte bleibt allein beim Autor der Seiten. Eine Vervielfältigung oder Verwendung solcher Grafiken, Tondokumente, Videosequenzen und Texte in anderen elektronischen oder gedruckten Publikationen ist ohne ausdrückliche Zustimmung des Autors nicht gestattet.

4. Rechtswirksamkeit dieses Haftungsausschlusses
Dieser Haftungsausschluss ist als Teil des Internetangebotes zu betrachten, von dem aus auf diese Seite verwiesen wurde. Sofern Teile oder einzelne Formulierungen dieses Textes der geltenden Rechtslage nicht, nicht mehr oder nicht vollständig entsprechen sollten, bleiben die übrigen Teile des Dokumentes in ihrem Inhalt und ihrer Gültigkeit davon unberührt.